After the last two Biennales delved into the profound, how did we end up with this art from the land of the bland? The US pavilion, curated by Jeffrey Uslip, titled Call Me the Breeze, fails to inspire or alter anything. Amorphous sculptures made of bronze, wood, and stone leave visitors feeling exactly as they came in.

The choice of materials, such as Colorado Yule marble from the Lincoln Memorial, hints at deeper meaning but ultimately delivers nothing more than a sense of déjà vu. One piece, shaped like a portal, is touted as evoking the 'visceral realities' but feels like a portal to a parallel universe where better art exists.

Uslip’s process involves mindless sculpting with his fingers and then blowing it up for scale. This inoffensive approach seems favored by high-end collectors eager to display something that won’t offend anyone—perfect next to those obligatory African masks. The selection process itself is a mess, involving a discredited curator and an obscure arts nonprofit.

As we navigate the 2026 Venice Biennale, one can only hope for a more meaningful exhibition that truly reflects the nation's soul.